[Art Hanging Painting] Joan Miro Miro--painting (woman, moon, bird)

＊Large sizes can only be delivered at home. *Scene simulation pictures, computer color differences, and ambient lighting may have some color differences from the actual posters received. ＊The mounting method is time-consuming and labor-intensive. Orders need to wait 2-3 weeks, so please be patient. Joan Miro Juan Miro Joan Miró is one of the most famous Spanish artists of the 20th century. Throughout his long and fruitful creative career, he has always been passionate about interpreting everyday objects and exploring their inherent poetic qualities. His lifelong ambition was to connect art and life, and with his unique insight, he found poetic qualities in the most humble objects of daily life. The stars, moon, and sun painted by Miro are abstract symbols that are considered classics of abstract painting and his most famous painting style. However, in fact, Miro was deeply influenced by Cubism, Surrealism, and even Dadaism. The wind is changeable. He was determined to combine poetry and painting into one, and to revolutionize the traditional art medium of painting. He even once said: "I want to assassinate painting!" Miró had a close relationship with the Surrealist School. These Surrealists were open-minded and good at using different media to create. They had been trying to combine poetry and painting. Miró once took apart a poem and turned it into the basis of his painting. title, and tried to express his poetic nature in his paintings. Although Miro's paintings are considered abstract paintings, many times what he painted were symbols, and from the symbols, it can be seen that they are stars and the moon. Or a puppy/animal. Compared with completely abstract paintings, they show that Miró was deeply influenced by Surrealism. "He experienced two world wars and a Spanish Civil War. Those eras again witnessed the rule of the privileged class. He took refuge in the countryside. Living on the beach and looking up at the stars inspired him to paint the Constellations series (1940-1941). Later he began to paint with stars, moon and sun, and the Constellations series became his signature language." Speaking of his inspiration Regarding artistic influence, Director Luo said that Miró arrived in Paris when he was about thirty years old. At that time, Paris was the most avant-garde art center in the world, and various schools of painting contended. In addition to Surrealism, which he was more influenced by, he was also influenced by Dadaism and Cubism. "According to himself, he will learn from each school of painting, but he does not admit that he belongs to any one school of painting." assassination painting Miró once said during his lifetime that he "pays more and more attention to the materials used in his works. In order to let the audience feel the impact before they react, I think a rich and powerful material is necessary. In this way, the poetry comes through The medium of shaping is expressed." The materials he originally used were subversive. He would use wood, polymer fiber boards, brass Bronze, sandpaper, asphalt, etc. to create creations, scratching, drilling, gluing, and collaging them. Each has its own style. Perhaps for those who have a basic understanding of Miro, watching this exhibition, you will be surprised to find out that he was so deeply influenced by Dadaism. For example, the painting he painted in 1933 is displayed at the entrance. Oil painting (this work is simply called "Painting"), the origin of this painting is that he likes to collect magazines, and then cut out different "objects" in the magazines and collage them into works. The exhibition displays both his original collages and the oil paintings that he later evolved into. As we all know, collage and Ready Made are both common techniques of Dadaism, and Miró just picked them up as his practice. Why Miro is great Why is Miró so great that he can rival Picasso and Dali? How is he different from the other two? "Some people call Miro a surrealist painter, and generally say that he created abstract art, because it is difficult for everyone to define him with one doctrine. He is very compatible. This is why he is different from Picasso and Dali. Very different. When mentioning Picasso, he thinks of Cubism, and Dalido thinks of Surrealism. In addition, Miró also emphasized returning to nature. Whether he was in bustling Paris or there, he would spend two months every year, Returning to the countryside of Catalonia, I gained strength from nature." She said, "Miro took different media very seriously and collaborated with artists of different generations. He loved folk art and also collaborated with craft masters to create creations. The scope is very broad, and the creative period spans sixty years, which is quite rare." Title of work: Painting (Women, Moon, Birds) Size of works sold: 78.5*60 cm Year of work: 1950 https://canvypro.blob.core.windows.net/thumbs/0d6d8cc4bdac45c0ad422d429497ff8d.jpg This description depicts humanity’s wondrous encounter with nature and the universe. Three female passers-by were surprised by two giant birds that looked as if they shared a head. They were walking along the contours of an undulating landscape, under the corner of a blue crescent moon. In Miró's paintings, birds are often magical catalysts, serving as heavenly messengers, bearers of supernatural messages, active creative spirits, like the bird Loplop in Max Ernst's work, which represents A stand-in for the artist himself. The story of Miró's stylistic evolution in the late 1940s and early 1950s takes place between two murals, two iconic works that announced his growing status on the postwar international art scene. The first is his 1947 mural "Mural Painting" for the Terrace Plaza Hotel in Cincinnati, which is nearly thirty feet long (935 cm) (Dupin No. 817). While Miró was working on Woman, Moon, Bird, he was preparing to begin his second important post-war mural, Peinture Murale, painted for the Buddhist University in October 1950 (Dupin no. 893; see also the same private Auction description of another 1950 Miró painting from the collection). This rich creative period began with an important and inspiring journey: Miró's first visit to the United States, a stay that lasted from early February to mid-October 1947. The artist devoted much of his time to the Cincinnati mural, which was arranged for him by his agent Pierre Matisse in borrowed space in a New York studio. Miró's stay in the United States ended the previous six years spent in relative loneliness and seclusion in his native Catalonia. During the Spanish Civil War, he was an ardent supporter of the defeated republicans and needed to protect himself from possible threats of reprisals while continuing to live and paint under the victorious Franco dictatorship. Pierre Matisse arranged for the artist's exhibition at his 57th Street gallery in May 1947. Because dealers had been showing Miró's work regularly since 1932, Miró's work was better known in the United States at that time than in Paris and elsewhere in Europe. James Johnson Swinney, director of the Museum of Modern Art in New York, had long been a fan of Miró and organized his first retrospective exhibition between November 1941 and January 1942. Although the Japanese bombing of Pearl Harbor in December 1941 dampened public interest in the exhibition, American painters and critics had begun to take notice of Miró's work. In January 1945, sixteen works from Miro's Constellations series (Dupin no. 628-650) were exhibited at the Pierre Matisse Gallery, the first major exhibition in New York since the United States entered the war. exhibition, featuring the latest works of a leading European avant-garde painter. Matisse reported to Miro: "It is a great joy that we see your work again after these long years of silence." He noted: "The opinion is unanimous, and the public's response to your exhibition is Very touching” (quoted by C. Lanchner, “Joanne Miró” exhibition catalog, Museum of Modern Art, New York, 1993, p. 337). The American avant-garde painter drew valuable lessons from Miró's retrospective of pre-war Surrealist work and his subsequent "Constellations." Barbara Ross observed, "Many artists saw in Miro's painterly, tactile surfaces and oscillating organic rhythms a key to liberating the tight geometric style that dominated the Cubist style of the American abstract painters." She pointed out: "He proposed an avant-garde alternative to how to reconcile figuration with the flatness required of modernist painting, an alternative that was eagerly explored by the New York School" (quoted in Meters in America Luo" exhibition catalog, Museum of Fine Arts, Houston, 1982, p. 5). Miró's exhibition in New York on May 13, 1947, attended by the artist himself, proved to be a timely event, further affirming his growing reputation in the postwar American art world. “This is the first time since 1939 (at the Pierre Matisse Gallery) that the work of Joan Miró has been represented anywhere outside of Spain, and the importance of this event for the American art world cannot be overstated. ,” declared Clement Greenberg in his commentary published in The Nation on June 7, 1947. The Cincinnati mural, completed in September, "made a profound impression" in a private studio preview before Miró's return flight to Barcelona (quoted in C. Lanchner, op. cit., 1993. p. 338). The following spring the painting was exhibited at the Museum of Modern Art in New York before being shipped to Cincinnati. Its success led architect Walter Gropius to recommend Miró in early 1950 to participate in a mural project for the dining hall of the Graduate Center in the new Kniss Building at the University of Virginia School of Law. Miró wrote to his friend the architect Josep Luis Sert on February 22, stating that he had sent Gropius the model. He chose a typical Spanish theme - bullfighting. "I threw myself into it wholeheartedly," he wrote (quoted in ibid., p. 339). His design was approved, and work on the mural, which is almost 20 feet wide (593 cm), began on October 8 in his studio at Passatge del Crèdit 4 in Barcelona. After completing the mural at the University of Buddhism on January 29, 1951, Miró told Sert: "I think this is the most powerful work I have ever done" (quoted from the above document). In a letter to officials at the Museum of Modern Art, he commented that it was "an important work that sums up all my research" (quoted by W. Rubin, Miró Collection, The Museum of Modern Art, New York, 1973, Page 87), when they purchased the painting from Buddha in 1963. The mural had suffered severe wear and tear from its university setting, so Miró created a more durable ceramic version that was installed in its original location. What was exemplary of Miró's art for young painters was his deeply intuitive approach to painting, his ability to reach into the inner, subconscious parts of himself and summon powers comparable to those he found in prehistoric art. From these sources Miró evolved a highly personal language based on the creation and application of iconographic symbols that were evoked in their most original state. In the late 1940s and early 1950s, the artist perfected what can be described as a classic style, in which he combined various trends that he had been exploring since the mid-1990s and refined from his wartime work . Miro described his working process in an interview with James Johnson Swinney in February 1948: "First comes the suggestion, usually derived from the material; secondly the conscious organization of these forms; thirdly the enrichment of the composition …For me, as I work, the form becomes real. In other words, instead of starting to paint something, I start to paint, and as I paint, the picture starts to appear under my brush, or under my brush Suggestions come out. As I work, forms transform in my hands into symbols of women or birds. Even a few casual wipes as I clean my brush may suggest the beginning of a painting. However, the second stage is passed Carefully calculated. The first phase was free and unconscious; but after that the whole picture was controlled, in keeping with the desire for disciplined work that I had felt from the beginning" (M. Rowell, ed., Joan Miró : Selected Writings and Interviews, Boston, 1986, p. 211). Miró's painting process for Woman, Moon, Bird followed this approach. He first freely brushed on blurry red and green particles to create a hint of distant space in the background; the swirling shape on the lower left seems to scatter birds in rotation as they spread their wings and fly. Next comes "organizing" the image - "working with sharp, powerful lines, as on engraving, as spontaneously as possible...always working consistently, always controlling the medium" ("Working Notes, 1941-42", See above, pages 185 and 187). In this painting, these line elements depict the outlines of birds, a crescent moon, and three figures. The addition of two stars in the upper right is a reminder that this hallucinatory fusion of symbols takes place in a supernatural cosmic dimension. The final "enrichment" phase begins when Miró begins applying opaque colors, giving more texture to the moon, figures and parts of the bird figures, especially the symbolic beak they share. The concentric eye lines and blue moon symbolize female sexuality and fertility. These diverse elements create a lively effect while maintaining a classic balance and quiet atmosphere. Between the paintings carried out immediately after the war, the Cincinnati and the Buddha frescoes, represent an important integration of figurative and technical means, the most important development in Miró's painting since the completion of The Constellations. Miró's stay in the United States in 1947 and the completion of the Cincinnati and Buddha murals expanded his reach and influence in the United States, an influence that would continue into the next decade, when Abstract Expressionism entered heyday. As for Miro himself, he also benefited from this. Jacques Dupont explained: "The artist's visit to America marked an important moment in his life, where he confirmed the importance of his work and the general interest it aroused... Above all, he discovered the originality of his art Magic corresponds to the most dynamic modern societies” (Miro, Paris, 2012, p. 277). The difference between whether there is Acrylic or not: 》 Acrylic= one more layer of protection = one more layer of reflection 》No Acrylic= less layer of protection = you can directly see the work with better texture I don’t know how to choose: (If there are children in the family, it is recommended to add Acrylic), (If there are adults in the family, you don’t need to use Acrylic) https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2022/06/22/37f09f78639e0445223ad276c14b9c6c.jpg Aluminum frame selection: https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2023/07/11/4b853563c2267abe4f46e392cf820e6b.jpg Source of work: https://image-cdn-flare.qdm.cloud/q665027dd6a3a4/image/data/2023/10/26/b011dd717f432dd262c032f1f02f4f8f.jpg